中平卓馬 Nakahira Takuma 氾濫 Overflow

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1974 年於東京國立近代美術館所展出的「15人攝影師」展，參展人中平卓馬使用 48 幅彩色影像組成寬 6 公尺、高 1.6 公尺的裝置藝術作品，並取名「氾濫」。本書《氾濫》由日本出版社 Case Publishing 出版，首次公開過去只有在展覽才有機會觀賞的作品全貌。

攀牆而上的常春藤、巷弄的下水道、大貨車的輪胎、玻璃水槽裡的鯊魚與地鐵車站內⋯⋯《氾濫》所收錄的照片，是藉由攝影師日常遭遇所捕獲的都市片段：它們是信息與商品，也是凡庸事物氾濫的都市裡，那令人毛骨悚然的裂口吧。本書為了在一冊書本的既有限制中呈現出裝置藝術作品的原始理念，嘗試了許多根據展覽內容所縝密配置的編排設計，將這些影像重新再現於紙張上，造就彼此之間相互牽扯與磨合。

此書同時收錄日本當代媒體研究者 Franz Prichard 的文字（原文英文，日文由攝影評論家倉石信乃所譯），詳細地追溯中平卓馬 1973 年於其著作《なぜ、植物図鑑か》所提出的「圖鑑」構想，對比作品《氾濫》間的關係。同時更細心評論中平卓馬之於攝影的相互影響，探討其實踐與理論並行的摸索過程。

「《氾濫》強迫觀者的我們，經由那些片段、表面與殘缺的資訊來閱讀。然而在這看似隨機的排列中，我們感受到一個整體的不完美性，同時意識到世界仍然有某個部分依然保持著無法被分門別類的狀態。這正是為了讓我們想起中平卓馬曾在《なぜ、植物図鑑か》所提出『圖鑑』形式的定義吧。」—— Franz Prichard

Takuma Nakahira, one of the most legendary photographers of post-war Japan and a life-long rival of Daido Moriyama. Overflow is the first photobook in which his installation work comes alive in entirety and detail since its unveiling in 1974.

Takuma Nakahira’s series ‘Overflow’ was originally presented as an installation during the 1974 exhibition ’Fifteen Photographers Today’ (National Museum of Modern Art, Tokyo). The work consisted of 48 color photographs that were arranged on a wall 6 meters wide and 1.6 meters high. The photobook Overflow is the first chance to view Nakahira’s astonishing series outside the context of an exhibition.
The photographs show elements of a city — eery rifts in a space overflowing with objects, commodities and information — that Nakahira encountered and captured in his everyday life, from ivy creeping across walls and manhole covers in the streets to the tire of a large truck, from a pale-bellied shark floating in the transparent darkness behind the glass of an aquarium to close-up shots of a subway station.
The photobook’s layout strictly mimics each photo’s position in the installation piece in order to replicate the series’ original experience within the confines of a book. Additionally, Princeton University assistant professor Franz K. Prichard contributes an extensive essay in which he compares the Overflow series with Nakahira’s vision of an ‘illustrated dictionary’ (as outlined in Nakahira’s 1973 essay ‘Why an Illustrated Botanical Dictionary?’), thereby offering a deep exploration of Takuma Nakahira, who integrated praxis and theory in his work like no one else.

‘Overflow compels us as viewers to see the interplay of a seemingly random distribution of fragments, surfaces and residues. And in so doing, we are made to sense the undifferentiated enumeration of parts of an incomplete whole. This is, if you recall, the definition of the “illustrated dictionary” form that Nakahira provided in the essay “Why an Illustrated Botanical Dictionary?”’
— from Franz K. Prichard’s essay

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